TY - JOUR AU - Eperjesi, Ágnes TI - „Forró szívvel, hideg fejjel”: Erdős Lili szakdolgozata elé JF - THEATRON: SZÍNHÁZTUDOMÁNYI PERIODIKA J2 - THEATRON VL - Theatron 19, 3. sz. (2025) PY - 2025 SP - 17 EP - 19 PG - 3 SN - 1418-9941 UR - https://m2.mtmt.hu/api/publication/36920895 ID - 36920895 LA - Hungarian DB - MTMT ER - TY - JOUR AU - Ujvári, Hedvig TI - Genre Boundary Struggles. The Conflictual Relationship Between Circus and Bourgeois Theatre in Berlin Around 1900 (Mirjam Hildbrand: Theaterlobby attackiert Zirkus: Zur Wende im Kräfteverhältnis zweier Theaterformen zwischen 1869 und 1918 in Berlin) TS - The Conflictual Relationship Between Circus and Bourgeois Theatre in Berlin Around 1900 (Mirjam Hildbrand: Theaterlobby attackiert Zirkus: Zur Wende im Kräfteverhältnis zweier Theaterformen zwischen 1869 und 1918 in Berlin) JF - THEATRON: SZÍNHÁZTUDOMÁNYI PERIODIKA J2 - THEATRON VL - 19 PY - 2025 IS - 4 SP - 82 EP - 91 PG - 10 SN - 1418-9941 DO - 10.55502/the.2025.4.82 UR - https://m2.mtmt.hu/api/publication/36975167 ID - 36975167 AB - This article explores the contested relationship between modern circus and bourgeois theatre in Berlin around 1900, analysing how cultural hierarchies between “art” and “entertainment” were historically produced. Drawing on legal texts, administrative records, and contemporary press discourse, it shows that the marginalisation of the circus was not based on aesthetic inferiority but resulted from institutional regulation, professional lobbying, moral reform movements, and fiscal policy. Although the circus functioned as a technologically innovative and dramaturgically complex form of urban performance, theatre legislation increasingly codified genre distinctions through the category of “artistic interest,” placing the circus at a structural disadvantage. The article argues that the decline of the circus should be understood as a consequence of cultural power relations and self-canonising strategies within bourgeois theatre, rather than as an aesthetic or historical inevitability. LA - English DB - MTMT ER - TY - JOUR AU - Simon, Bettina TI - Getting Around Lajos Németh. The Myth of „Ordering Unicum” in the Art Historical Discourse of the 1990s TS - The Myth of „Ordering Unicum” in the Art Historical Discourse of the 1990s JF - THEATRON: SZÍNHÁZTUDOMÁNYI PERIODIKA J2 - THEATRON VL - 19 PY - 2025 IS - 4 SP - 53 EP - 61 PG - 9 SN - 1418-9941 DO - 10.55502/the.2025.4.53 UR - https://m2.mtmt.hu/api/publication/36975721 ID - 36975721 N1 - https://theatron.hu/theatron_cikkek/getting-around-lajos-nemeth-the-myth-of-ordering-unicum-in-the-art-historical-discourse-of-the-1990s/?iID=15922&tp=local AB - In his last book, published in 1992, Lajos Németh wrote that neo-avant-garde art posed an unresolved problem for Hungarian art history. In recent years, when evaluating research on the neo-avant-garde, art historians have recalled the tasks formulated by Németh as ones that have still not been accomplished. Although Lajos Németh assigned this task to the art historians of the future, his statement also conveys a critique of the present at the time, as well as of the period leading up to the political transition. In my study, I compare Lajos Németh’s opinion with the criticism articulated by Éva Forgács in the early 1990s on the neo-avant-garde. I argue that, due to the similarity of their perspectives, the art criticism of the period helps to concretise Lajos Németh’s general statements about the era. In other words, attempts to circumvent Lajos Németh contribute to substantiating his inevitability. LA - English DB - MTMT ER - TY - JOUR AU - Kékesi-Kun, Árpád TI - Experimental Theatre in the Hungarian Countryside During the 1970s.István Paál’s Productions of Jarry’s Ubu Plays in Pécs and Szolnok JF - THEATRON: SZÍNHÁZTUDOMÁNYI PERIODIKA J2 - THEATRON VL - 19 PY - 2025 IS - 4 SP - 12 EP - 18 PG - 7 SN - 1418-9941 DO - 10.55502/the.2025.4.12 UR - https://m2.mtmt.hu/api/publication/36979650 ID - 36979650 AB - While at the turn of the 1960s and 1970s the traditions of the avant-garde could only prevail in amateur (or alternative) theatre in Hungary, by the second half of the 1970s, the conception of theatre as an experiment began to permeate some of the performances of the official theatre as well. However, this only affected the provincial theatres, and the theatres in Budapest did not show any movement away from the canon. The essay analyses two such experiments: the 1977 premiere of King Ubu in Pécs and the 1979 premiere of Ubu Enchained in Szolnok. Both are linked to the name of István Paál: he is the only Hungarian director who staged two Ubu dramas in two places. I am looking for an answer to the question of what political overtones the two productions were saturated with in the theatre culture of state socialism, and how they employed the dramaturgical procedures of the classical avant-garde. LA - English DB - MTMT ER - TY - JOUR AU - Reuss, Gabriella TI - “A gauntlet thrown at the reader’s feet” JF - THEATRON: SZÍNHÁZTUDOMÁNYI PERIODIKA J2 - THEATRON VL - 19 PY - 2025 IS - 4 SP - 62 EP - 68 PG - 7 SN - 1418-9941 DO - 10.55502/the.2025.4.62 UR - https://m2.mtmt.hu/api/publication/36985541 ID - 36985541 AB - Otakar ZICH. Aesthetics of the Dramatic Art:Theoretical Dramaturgy. Prague: CharlesUniversity in Prague, Karolinum Press, 2024.476 p. This paper assesses the long-awaited English edition of Otakar Zich’s Aesthetics of the Dramatic Art: Theoretical Dramaturgy (1931), published in 2024 (General editor David Drozd, translated by Pavel Drábek and Tomáš P. Kačer). It highlights the decade-long Czech initiative to make Zich’s seminal but complex writings accessible to an international readership through the Theatre Theory Reader (2016) and related projects. The review situates Zich’s inductive, spectator-centred theory within the intellectual tradition of the Prague Linguistic Circle and early twentieth-century European performance thought. It commends the translators’ methodological clarity and the volume’s dual structure—Introduction and Afterword—for enabling critical engagement with Zich’s intricate aesthetic system, now restored as a foundational text of modern theatre theory. LA - English DB - MTMT ER - TY - JOUR AU - Jákfalvi, Magdolna TI - Hidden or Forbidden : Spatial Occupation as an Avant-Garde Gesture JF - THEATRON: SZÍNHÁZTUDOMÁNYI PERIODIKA J2 - THEATRON VL - 19 PY - 2025 IS - 4 SP - 4 EP - 11 PG - 8 SN - 1418-9941 DO - 10.55502/the.2025.4.4 UR - https://m2.mtmt.hu/api/publication/36995692 ID - 36995692 AB - In 2025, it was one hundred years since the Zöld Szamár (Green Donkey) Theatre held its first performance in Budapest, marking a century since avant-garde theatre became part of Hungarian theatrical culture. Despite this, it is still widely assumed that in Soviet and Soviet-occupied states, following the death of Konstantin Stanislavsky in 1938, experimental theatre became a forbidden theatrical practice. According to this assumption, prohibition itself functioned as the primary determinant of aesthetic decision-making, and avant-garde events emerged chiefly as communal political gestures defying censorship, with resistance serving as both catalyst and inspiration. This study seeks to complicate this view by examining two Hungarian avant-garde theatre formations: the Zöld Szamár (Green Donkey) Theatre in 1925 and the Kassák House Studio in 1973. Through an analysis of their spatial practices and the social responses they provoked, the article explores the mechanisms of cultural control operating before and during Sovietisation. The comparative presentation of these two cases makes it possible to identify avant-garde form not merely as a reaction to prohibition, but as a mode of thinking inherent in the practices of theatre-makers themselves. LA - English DB - MTMT ER - TY - JOUR AU - Kiss, Gabriella TI - Not Heroic, but Theoretic : Thoughts on Tibor Debreczeni and a Forgotten Genre of Student Acting JF - THEATRON: SZÍNHÁZTUDOMÁNYI PERIODIKA J2 - THEATRON VL - 19 PY - 2025 IS - 4 SP - 19 EP - 30 PG - 12 SN - 1418-9941 DO - 10.55502/the.2025.4.19 UR - https://m2.mtmt.hu/api/publication/36995693 ID - 36995693 AB - This article explores a single, yet generative question within the framework of applied theatre studies: what genre-theoretical, dispositif-critical, and reception-historical insights emerge when the relationship between the platform theatre model theorised by Tibor Debreczeni and Antal Rencz, and the Zöld Szamár Theatre is examined through a single Philther reconstruction. The analysis considers whether the two formations share key characteristics: (i) the capacity to continuously theorise their own practice; (ii) an understanding of theatre-making as both a pedagogical workshop and a form of social activism; and (iii) an ability to synthesise agitational genres of working-class culture, the emergent art of movement, and the visual arts that had become integral to scenographic language. The case study of the lyrical oratorio Perlő ének (1971) serves as the central site of this inquiry. LA - English DB - MTMT ER - TY - JOUR AU - Székely, Rozália TI - Acting Presence as an Avant-Garde Experiment in Selected Performances of the Szentkirályi Theatre Workshop JF - THEATRON: SZÍNHÁZTUDOMÁNYI PERIODIKA J2 - THEATRON VL - 19 PY - 2025 IS - 4 SP - 31 EP - 40 PG - 10 SN - 1418-9941 DO - 10.55502/the.2025.4.31 UR - https://m2.mtmt.hu/api/publication/36995694 ID - 36995694 AB - The article examines selected performances of the Szentkirályi Theatre Workshop through the concepts of acting presence and stage present time. The analysis focuses on performances built from real family relationships, personal biographical material, and shared presence, involving professional actors, amateurs, civilians, children, and animals. The intertwining of theatrical and performative elements, together with fragmented dramaturgy and indeterminacy, creates a mode of spectatorship in which presence functions as the primary medium of transmission. Drawing on John Keats’s concept of “negative capability,” as well as theories of autobiography and autofiction, the study interprets these performances as open, non-linear structures that foreground lived presence over narrative coherence. LA - English DB - MTMT ER - TY - JOUR AU - Fenyő, Dániel TI - Károly Tamkó Sirató and His Rediscovery by the Hungarian Neo-Avant-Garde JF - THEATRON: SZÍNHÁZTUDOMÁNYI PERIODIKA J2 - THEATRON VL - 19 PY - 2025 IS - 4 SP - 41 EP - 52 PG - 12 SN - 1418-9941 DO - 10.55502/the.2025.4.41 UR - https://m2.mtmt.hu/api/publication/36995695 ID - 36995695 AB - The continuity between the Hungarian historical avant-garde and the neo-avant-garde in terms of poetical and habitual similarities is also a conscious labour on tradition. At the time of the emergence of the neo-avant-garde, artists of the historical avant-garde—despite of the adverse circumstances during Hungarian state socialism, but due to their international recognition—possessed a symbolic authority and historical relevance that could not be ignored by those who proclaimed themselves as an artist of the neo-avant-garde. However, the transformation of the historical avant-garde into a tradition by the neo-avant-garde involves processes of sorting: neo-avant-garde artists selected and chose particular elements of the historical avant-garde that seemed relevant to them, based on their own interests and the surrounding context. Nevertheless, the historical avant-garde artists were still alive at the time of the emergence of the neo-avant-garde, thus they experienced their oeuvre becoming tradition. Consequently, they had the opportunity to intervene in this process through their statements and reflections. This paper discusses the example of Károly Tamkó Sirató, whose Dimensionist Manifesto was elaborated in the 1930s and became a point of reference for certain circles of the neo-avant-garde in the 1970s. The peculiarity of this case is that while his earlier work became more valuable, Károly Tamkó Sirató did not consider dimensionism to be directly continuable during this period; instead, he proposed a different method to revive the tradition of the historical avant-garde. LA - English DB - MTMT ER - TY - JOUR AU - Hevesi, László TI - Dramaturgs on the Barricades JF - THEATRON: SZÍNHÁZTUDOMÁNYI PERIODIKA J2 - THEATRON VL - 19 PY - 2025 IS - 4 SP - 69 EP - 73 PG - 5 SN - 1418-9941 DO - 10.55502/the.2025.4.69 UR - https://m2.mtmt.hu/api/publication/36995731 ID - 36995731 AB - Philippa KELLY, ed., Diversity, Inclusion andRepresentation in Contemporary Theatre.New York: Routledge, 2020. 158 p. Diversity, Inclusion and Representation in Contemporary Dramaturgy was published in New York in 2020 as the fifth volume of Routledge’s Focus on Dramaturgy series. The series editor is Magda Romanska, and this volume was edited by Philippa Kelly with the associate editor Amrita Ramanan. In Diversity, Inclusion and Representation in Contemporary Dramaturgy, over 216 pages, sixteen dramaturgs (practising with one exception in the US) share the knowledge they have gained through their work in the form of case studies with source references. The studies cover the period between 2010 and 2020. Each case study is written by a dramaturg whose body of work explores important issues of race, cultural equity, and culturally specific practices within a wide range of conventions, venues, and communities. LA - English DB - MTMT ER -